Category: Reviews

Posted on by Lauren Katulka

“ten feet tall” – Yorke

In 2020, Yorke blew me away with her debut EP Liberosis. I loved it so much that I named it among my top releases of the year. I couldn’t wait to hear what came next, but I’m glad Yorke has taken her time with a follow-up. Two years after her breakthrough, she’s treated us with ten feet tall.

After two years, Yorke is older and wiser. There’s a confidence that comes with time that shines through these songs. However, she hasn’t lost that youthful spark that drew me to her music years ago. There’s a real nostalgic charm to the upbeat numbers that dominate this EP, including the singles “next life”, “i’ll keep driving”, and “when the honeymoon is over.” After dancing through the first couple of songs, the gentle title track gives us the opportunity to pause, reflect, and get to know Yorke a little better. There’s a quiet power about this song, the only ballad on the EP. Its lyrics are beautifully vulnerable and its simpler orchestration shows us a new side of Yorke and her powers.

When I reviewed Liberosis back in 2020, I said Yorke showed great potential. With the release of her follow-up, I think she’s realising that potential I heard then. It’s pitch-perfect pop, confident and charismatic, whether it’s backed by layered beats or more stripped back. I’m really looking forward to hearing what Yorke does next, but I’m also going to enjoy sitting with these songs for a little while.

Yorke’s ten feet tall is out now. She’ll play the East Coast capitals to support its release in February.

3 February 2023 – Northcote Social Club, Naarm/Melbourne
9 February 2023 – The Lansdowne, Eora/Sydney
10 February 2023 – Black Bear Lodge, Meeanjin/Brisbane

Images used with permission from Island Records Australia

Posted on by Lauren Katulka

“Eli Greeneyes” EP – Eli Greeneyes

The year might be winding down, but I love that I’m still finding music to get excited about. Boorloo/Perth artist Eli Greeneyes is the latest act I can’t stop listening to. With just five songs, his self-titled EP makes a definitive statement that he’s arrived.

This is one of those EPs that leaves no doubt about the artist’s talent from the get-go. Opening track “Don’t Let Them Know” is as close as you’re going to get to the perfect piece of power pop. The vocals soar and it’s got an epic, cinematic feel. Close your eyes and you can imagine it playing over the credits of a really great coming-of-age movie. “Town of the Living Dead” is a guitar-forward track with a beat that just won’t quit. The current single “Flowers” sits in the middle of the EP. It’s super catchy, as the best singles are, with fabulous lyrics exploring gender roles and ulterior motives in relationships. After delivering upbeat pop-rock bangers in the front-half, the EP’s back-end gives Eli the chance to showcase his sensitive side. “Not Enough” and “People” are both beautiful piano ballads. “Not Enough” has a lush, layered sound while “People” is stripped back, ensuring its lyrics shine through.

As is fitting for a self-titled EP, Eli wrote, produced and mixed the EP. It sounds so polished, but it was created in a home studio in his parents’ spare room. If this is the music Eli Greeneyes makes first time up on a shoestring, I can’t imagine how his music might sound with more time and money behind him.

Eli Greeneyes’ debut EP is out now.

Images used with On the Map PR; main image credit: Ben Matei

Posted on by Lauren Katulka

“Suburban Daze” – Georgie Neilsen

I’ve gushed over Georgie Neilsen’s singles “Eyes Wide Open” and “Last Time I Felt Better,” so I was pretty thrilled to hear her debut EP Suburban Daze. My expectations were high, but I’ve been listening to little else for the last few days. Yes, it’s that good. There was a big part of me that wondered whether I had enough left to say after heaping so much praise on nearly half the songs. But I couldn’t miss the opportunity to put this music on your radar.

The opening track “A Life In a Day” drew me in instantly. I’m not sure whether it was recorded live, but this song has that organic quality to it. As if Georgie just picked up her acoustic guitar and started to sing from her soul, and someone just happened to hit the record button. With lower production values than the other tracks, you’ve got to really focus to catch all the lyrics, ensuring you stay engaged until the final guitar notes. 

The title track comes next, with its drumbeat shocking us out of the acoustic spell. It’s got the rock edge that drew me to Georgie’s music in the first place. Interestingly Georgie recorded this song way back in 2019, but it fits so naturally with more recent creations like “Last Time I Felt Better.” “Eyes Wide Open” has a little more of a pop feel, ensuring we see as many facets of this dazzling artist as we can. 

It’s fitting that Georgie leaves us with the jubilant, defiant “I’m Changing.” These songs all touch on heartbreak, emotional turbulence, and the fight for independence, experiences that permanently alter and shape who we are as people, and perhaps as artists. Georgie might be changing, but I’m pretty excited to hear how she evolves.

Suburban Daze is out now.

Images used with permission from Kick Push PR

Posted on by Lauren Katulka

“What Rhymes With Christmas?” – Teeny Tiny Stevies

I said I was going to highlight some Christmas music. You were warned. If you’re not ready to go full-Mariah yet, the Teeny Tiny Stevies’ new EP What Rhymes With Christmas? might be the release to ease you into the festive season.

I know, I know, I’m not in the Teeny Tiny Stevies’ core demographic. I’m definitely not a kid, and I don’t have any around me. I don’t have to listen to “children’s music.” I’ve resisted previous Teeny Tiny Stevies releases because I’ve already learned those important lessons about sharing, using sunscreen, and sleeping through the night. But Christmas is a season that brings out the inner child in us all, so these songs are a little more accessible than their standard fare.

This EP is full of really lovely folky music. It makes such a change from hearing the big divas and crooners that dominate Christmas playlists. Some might say it’s the ideal summer music. That’s what we need for an Aussie Christmas. Speaking of, it’s still so refreshing to hear musicians singing about our unique experiences of Christmas. There are references to Paul Kelly music, cicadas, the heat, and even biscuits. No cookies here!

“As songwriters, we feel so lucky to be welcomed into families’ homes via our Teeny Tiny Stevies catalogue, and while we’re privileged enough to be there it feels like the right time to add our local voice to the mix of mostly international Christmas classics,” Beth and Byll Stephens explained.

“Like most Australians, while enjoying the classic Christmas carols on offer, there is this weird disconnect when we’re singing along to songs about roasting chestnuts & snow men. It was a satisfying challenge, when writing these new songs, to ask ourselves ‘what does it feel like and sound like at MY Christmas right here at home’. ”

“I also like the idea of Christmas songs that aren’t completely about Christmas, for example ‘All I Want For Christmas Is You’ is actually a love song, and ‘How to Make Gravy’ is the story of a family, I mean they are about Christmas but there’s another narrative. And we’ve honed in on that idea with ‘Three’. ”

Teeny Tiny Stevies are a children’s act, and I know that little ones will embrace these songs that tell real Aussie Christmas stories. But I encourage all of the adults out there to give What Rhymes With Christmas? a listen too. Like me, you might be pleasantly surprised.

If you’re still searching for the perfect present for little ones in your lives, how about some Teeny Tiny Stevies tickets? They’re taking their How to Be Creative tour all over the country in the New Year.

6 January 2023 – Albury Entertainment Centre, Bungambrawatha/Albury
7 January 2023 – Civic Theatre Auditorium, Wiradjuri Country/Wagga Wagga
8 January 2023 – Canberra Theatre Playhouse, Ngunnawal Country/Canberra
13 January 2023 – HOTA Lakeside Room, Yugambeh Country/Gold Coast
14 January 2023 – Old Museum Concert Hall, Meeajin/Brisbane
15 January 2023 – Armitage Centre @ Empire Theatre, Jagera, Giabal and Jarowair Country/Toowoomba
17 January 2023 – Events Centre Playhouse, Kabi Country/Caloundra
19 January 2023 – Walter Reid Cultural Centre, Darumbal Country/Rockhampton
20 January 2023 – MECC, Yuwibara Country/Mackay
22 January 2023 – Tanks Arts Centre, Gimuy/Cairns
27 January 2023 – Dunstan Playhouse, Tarntanya/Adelaide
28 January 2023 – Sir Robert Helpmann Theatre, Boandik Country/Mt Gambier
3 February 2023 – Port Cygnet Cannery, Melukerdee and Lyluequonny Country/Cygnet
4 February 2023 – Earl Arts Centre, Therrernotepanner, Leterrermairrener and Panniher Country/Launceston
5 February 2023 – Theatre Royal, Nipaluna/Hobart
12 February 2023 – Live at the Bowl @ Sidney Myer Music Bowl, Naarm/Melbourne
4 March 2023 – Twilight at Taronga @ Taronga Zoo, Eora/Sydney

Images used with permission from Revolutions per Minute

Posted on by Lauren Katulka

“Georgia Maq Live at the Sydney Opera House” – Georgia Maq

I’ve always appreciated Georgia Maq’s work, whether she’s fronting punk act Camp Cope or playing solo. However, my love for her music has deepened after hearing her new Live at Sydney Opera House EP. It’s a beautiful recording featuring five tracks recorded at her Vivid show in the Opera House’s Utzon Room last year.

The Utzon Room is a small, intimate space, perfect for stripping music back. We hear Georgia on piano, backed only with strings. In doing so, we hear her music in a new way. While her solo material has always been a little quieter and more introspective than her work with Camp Cope, I found I could appreciate it even more without the layered electronic sounds. This is simplicity at its finest. Georgia’s voice shines with such simple accompaniment, encouraging you to listen to her lyrics, to her stories.

While her own stories dominate, I’d be remiss if I didn’t mention her stunning cover of Regina Spektor’s “Samson” which closes this EP. I’ve always loved this song. Regina set the bar so high, but Georgia’s version is equally beautiful. I’m so glad I got the chance to hear it on this EP.

Georgia Maq Live at the Sydney Opera House is out now.

Images used with permission from Our Golden Friend; main image photo by Jess Gleeson + design by Sebi White

Posted on by Lauren Katulka

“The Silence of You” – Kyle Lionhart

I knew before pressing play that I was going to love Kyle Lionhart’s sophomore album The Silence of You. I’d already fawned over the singles “Chemical Heart” and “Lighthouse,” highlighting Kyle’s personal lyrics and heartfelt delivery. But I wasn’t prepared for just how much this collection of songs would move me.

When you release a few exceptional singles, they often become the highlights of the album. That’s not the case here. Every song is a standout, a powerful and personal revelation. Perhaps the pandemic has something to do with that. With the exception of “Locked to Towns,” penned during the songwriting sessions for his debut album, Kyle wrote every song during lockdown.

While we were all reflective while stuck in our homes, the period was especially telling for Kyle. Near the end of 2019, after more than six years of constant touring, he started feeling like pursuing his career came at the expense of his most important relationships. When the pandemic forced him to take a break from the road the following year, it was time to start working on those relationships and himself. These songs stemmed from that period of self-reflection; they’re powerful, sometimes confronting, and always authentic. Kyle admits that he cried every day in the studio singing these songs; that emotion really comes through. You can hear it in his voice, but make sure you listen to those lyrics to really understand the powerful experiences and feelings that shaped these songs.

While these songs deal with some heavy themes, The Silence of You isn’t a dark album. Kyle’s voice has a beautiful warmth that lifts you up as you listen. There’s also an undercurrent of optimism that brings lightness to the material. This album celebrates human connection and love. While that exists, we can never stay down for too long. Kyle will play shows in the new year to support the album’s release.

20 January 2023 – Milk Bar, Boorloo/Perth
21 January 2023 – Jive, Tarntanya/Adelaide
27 January 2023 – The Factory Theatre, Eora/Sydney
28 January 2023 – Corner Hotel, Naarm/Melbourne
3 February 2023 – Mos Desert Clubhouse, Yugambeh Country/Gold Coast
4 February 2023 – The Zoo, Meeanjin/Brisbane
10 February 2023 – Solbar, Kabi Kabi and Jinibara Country/Sunshine Coast
11 February 2023 – The Northern, Cavanbah/Byron Bay

Images used with permission from Revolutions per Minute

Posted on by Lauren Katulka

The Whitlams Black Stump Band @ Avoca Picture Theatre, Darkinjung Country/Avoca Beach – 26 November 2022

I’ve seen The Whitlams and Tim Freedman solo countless times over the years. The ever-changing setlists ensure it never gets tired, yet I relished the opportunity to see them doing something completely new. When the Whitlams Black Stump Band stopped in to Darkinjung Country/Central Coast on Saturday, I got my chance.

After seeing my first gig at Avoca Beach Picture Theatre, I’ll be keeping a close eye on their gig guide. I’ve seen movies there in the past, but you don’t really appreciate its intimacy as much when you’re looking at a big screen. It’s such a charming space, oozing with warmth and good vibes. I had tickets in the front row and didn’t dare bring out my camera out, lest I break the spell.

Courtney Keil was already on stage when I found my seat. She’s got a sweet voice and a youthful energy that’s perfect for her brand of country-pop. Cass Hopetoun was next, another country act but one I connected with instantly. Her songs were much quirkier, with plenty of sass and edge. She’s also a really compelling performer. Watching her interact with her fiancé on guitar was so special. I’ve been blasting her album since the show.

While the walk-on music was familiar, this was a very different Whitlams show to any other I’ve seen. With only two-fifths of the outfit Whitlams regulars, the band could best be described as an offshoot. While Rod McCormack, Matt Fell, and Ollie Thorpe are new additions, they’re such accomplished musicians that they sound as if they’ve been playing with Tim and Terepai, and playing these songs, for years. I’d heard a couple of the new arrangements through single releases, but getting to hear so many great Whitlams songs in new ways was thrilling. I hadn’t imagined slide guitar, banjo, or steel guitar on these tracks, but I’m so glad I got the opportunity to hear them that way. Certain songs also suit a more countrified treatment than others, so the show featured some tracks that don’t usually make the set list. If you’re a die-hard Whitlams fan, that alone is worth the price of admission. We were also treated to covers from artists like Kris Kristofferson and Neil Young. As I said before, this was not your typical Whitlams gig.

There’s something special that happens when a band are really vibing. You can tell that these guys love making music together. When the band loves what they do, the audience always has a good time. The Whitlams always bring the party, but the novelty of this new project takes these songs to another level. If you consider yourself a Whitlams fan, make sure you see the Whitlams Black Stump Band at one of their upcoming shows:
1 December 2022 – Royal Oak Hotel, Therrernotepanner, Leterrermairrener and Panniher Country/Launceston
2 December 2022 – LongHouse, Nipaluna/Hobart
3 December 2022 – Palais Theatre, Melukerdee and Lyluequonny Country/Franklin
20 January 2023 – Capitol Theatre, Kamilaroi Country/Tamworth
17 March 2023 – Lizotte’s, Mulubinba/Newcastle
18 March 2023 – Adelaide Fringe, Spiegeltent, Tarntanya/Adelaide
24 March 2023 – Thornbury Theatre, Naarm/Melbourne
25 March 2023 – Memo Music Hall, Naarm/Melbourne
26 March 2023 – Archies Creek Hotel, Gunai Country/Archies Creek
31 March 2023 – Factory Theatre, Eora/Sydney
1 April 2023 – Princess Theatre, Meeanjin/Brisbane

Image used with permission from Wildheart Publicity

Posted on by Lauren Katulka

“For Wise People Who Appreciate Quality” – Sick Visor

As if they understood just how challenging Thursdays can be, Naarm/Melbourne indie-punk duo Sick Visor have dropped their debut EP For Wise People Who Appreciate Quality, and yes, it’s every bit as fabulous as its title. In fact, it’s an absolute joy.

Indie-punk and joy don’t often go hand in hand, but this isn’t your average collection of punk songs. There’s the energy, driving drums, and big chords we associate with the genre, but these songs are more about celebrating life than complaining about what’s wrong with it. I’m not sure I’ve ever related more to a punk song than the opening track, “Happy Pessimistic People Person Introvert”. “My Legs Feel Good In My Pants” reminds us all to appreciate the now and all its little wins. Want more positivity? “Love is Free” brings it in spades. Not that Sick Visor view the world totally through rose-coloured glasses. “Shit for Brains” is a self-deprecating anthem for musos all too aware of their shortcomings. “Sticky Tape” rounds out the EP. If ever a song was the equivalent of a big warm hug, this is it. Again, it embraces the flaws, reminding us that while we might be holding ourselves together with sticky tape, we’re far from the only ones.

After supporting the likes of Bugs and TOWNS in Melbourne, Sick Visor have announced some headlining gigs to support today’s release of For Wise People Who Appreciate Quality. Catch them at one of the following shows:

25 November 2022 – Greaser Bar, Brisbane (FREE)
2 December 2022 – Penny’s, Naarm/Melbourne (FREE)
3 December 2022 – Simple Cider, Nipaluna/Hobart (supporting the Sleepyheads)
5 December 2022 – MONA Lawns, Nipaluna/Hobart


Images used with permission from Habit Music Co; main image credit: Nick Manuell

Posted on by Lauren Katulka

“Jacob Fitzgerald & The Electric City” – Jacob Fitzgerald

I must admit, I listened to Jacob Fitzgerald’s new EP, Jacob Fitzgerald & The Electric City, more out of my own interest than any serious desire to write up a review. I’ve already fawned over three of the EP’s six tracks, so what more would I have to say? There’s probably a point where continuing to praise an artist gets boring, but once I listened to this EP I knew I’d have to put my fingers to the keyboard and get typing.

Jacob had already shown incredible diversity, delivering rock swag with his song “Muse,” then showing his softer side with softer, more pop-influenced tracks “The Long Way Home” and “Shame on You.” The EP delivers more pieces of the Jacob Fitzgerald puzzle. The opening track and current single “My Girl” reminds me a little of “Jessie’s Girl,” both thematically and in terms of its instant radio-friendly appeal. “The Electric City” is a brooding synth-driven number that has me thinking of classic 80s tunes from Don Henley and Tears for Fears. It’s really cool. After the bravado of “Muse,” the vulnerability he shows in “Peter Pan” is even more striking.

Jacob Fitzgerald & The Electric City shows Jacob is such a multi-faceted artist with plenty to show us. Something tells me that while this EP is diverse, something tells me there’s plenty more to come. That’s exciting. Jacob is about the embark on the shows in the major capitals supporting Loose Bricks. Rest assured, you want to turn up early enough for his set.

25 November 2022 – Black Bear Lodge, Meeanjin/Brisbane
26 November 2022 – Hiway Enmore, Eora/Sydney
16 December 2022 – Crown and Anchor, Tandanya/Adelaide
17 December 2022 – The Workers Club, Naarm/Melbourne

Images used with permission from Good Intent

Posted on by Lauren Katulka

Allen Stone @ Enmore Theatre, Eora/Newtown – 15 November 2022

It takes a lot to get me to a midweek gig. And I’m not just talking about the two trains that I need to catch to get to venues like the Enmore. I always know I’m going to be sluggish the next morning, so it’d better be worth my while. Having seen Allen Stone play The Metro back in 2019, I knew he would be. So last night I put on my best dress, dragged myself out of the house on a Tuesday (!), and prepared myself for the party.

Since we couldn’t leave Darkinjung Country/Central Coast until after my husband had finished work, I had to make the choice between getting a decent dinner or seeing the support act. Sorry WILSN, but my stomach won. We arrived with just enough time to settle ourselves in for Allen and admire the theatre. It was my first trip to the Enmore since its renovations. Gee the old girl scrubs up beautifully.

“Uncle Al” always brings the party. He’s such a natural on stage, dancing up a storm and playing off his band. His voice is so rich, warm and textured, perhaps even better in person than on the albums. He had us in raptures with upbeat singles like “Brown Eyed Lover” and “Taste of You.” I’m not sure if everyone was across the new single “5 Minutes”, but they were certainly happy to take Allen’s lead and engage in a little call-and-response. While we love grooving along with him, we’re also happy to swoon at his romantic ballads. Al knows how to write a real love song, ballads that speak from the heart and avoid the cliches. I found myself squeezing my husband’s hand tightly listening to “Consider Me” and “Bring You Blue”. Choice covers like Stevie Wonder’s “A Place in the Sun” and an epic version of Farnsy’s “Two Strong Hearts” had us in raptures.

I’ve got to take a moment to shout out to the audience. There’s often something really special about the crowds who go to see shows from artists who haven’t made an impact on the Australian charts. There are no casual fans, like when you see the latest big thing or an artist who’s been a radio mainstay for decades. They go because they really go. They also tend to be pretty passionate about great music, because they’ve sought this artist out rather than just waiting for radio to deliver them. I love being part of crowds like this. They cheered rapturously, but you could hear a pin drop in those quiet moments. Everyone was in the moment, lapping up every second. Allen praised the audience several times, and even declared we were the best crowd of the tour. Sure, he might say that in every city, but I’ll take it.

When crowds are that good, you can’t leave without an encore. I’m sure I read once that the Enmore’s residential neighbourhood restricts shows from going on too long, but Al insisted he wanted to play two more. I finally got my chance to see the support act WILSN when she joined Al on stage for “Naturally”. She was brilliant. I promise I’ll try to see her next time. Most artists would prefer to end with their own material, but on a night when there were such good vibes in the room, a singalong cover of Bob Marley’s “Is This Love” was the perfect closer.
I didn’t get home until close to 1:30 a.m. Since there are fewer trains and everyone needs to get home, they stop at all stations on the way back home. We can also count on a long wait between connections. I’m very sluggish today, but I’d do it all again in a heartbeat. Uncle Al is just that good.

Allen Stone’s The New Normal tour continues tonight in Naarm/Melbourne. I know midweek gigs are tough, but if you’re ever going to do it, make it for one of these shows:

16 November 2022 – Northcote Theatre/Naarm/Melbourne
19 November 2022 – Harvest Rock Festival, Tartanya/Adelaide
20 November 2022 – The Tivoli, Meeanjin/Brisbane
22 November 2022 – Astor Theatre, Boorloo/Perth

Image source: Stephen Katulka